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I did not expect that video. Interesting. Not something I'll listen to over and over, but I'm glad it's there.
I like his books and general approach.
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07-30-2016 04:58 PM
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Originally Posted by Chuck
so sad man , he was just interracting with people a month ago on facebook :/ he didn't look healthy in the video .
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It was cancer, IIRC. But yeah. Sad to see him go. I would have liked to have met him in person. Originally Posted by mooncef
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He died in 2015, not a few months ago, but it's sad all the same. Thanks for posting the "Farsighted Friendship" video. I have an album of his (I believe his first as a leader) "A Blue deeper than the blue." It's good stuff.
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Check out this older thread:
Garrison Fewell - progress thread.
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I know it doesn't seem that long ago, but someone else had said he was posting a month ago...
I'm glad he left us his music and these very nice books. I'm almost ready for Part 2 of the book. It's a slow going process but one of my favorite things about this book is his suggested fingerings and taking the patterns through the cycle. Just playing through these patterns has helped my improvisation as pathways to get around the neck. I also learned the rest stroke from this book, I'd done 'rakes' before but never really with any precision. Been playing for a while so learning a new technique is very satisfying!
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Hi everybody,
i've started studying the approach and I have a problem understanding when to use which triads over which chords. Maybe someone of you guys can help me out with the theory here.
I'm in chapter 3 right before the pratice progressen "Three Bees" (p. 37). So far, Fewell hasn't really explained why which triad sounds good over which chords given the context of the progression and the key it is in (or maybe i missed it?!). 2 pages earlier he simply states play this over this: e min over Gmaj7/E-7 (and that I get) and a min over A-7/D7. I guess i get that too, but the two chords' relations is a different one. So now I'm not shure what Fewell wants me to do in Three Bees (or in general). Do I choose the triads for each chord or for each II-V pair and how does the key of the progression ('s part) come into play?
Please help, i'm a little frustrated!
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I'm not sure if I understand you right, but when Mr. Fewell mentions playing an E min triad (for example) that would include all the melodic extensions, not just the basic triad. From E min onwards you'll get Gmaj (g-b-d), B min (b-d-f#) and D maj (d-f#-a) triads and depending on which one you emphasize in a line you get different tensions and colours for different chords in the progression. Continuing from there you'll get F#dim (f#-a-c), A min (a-c-e) and C Maj (c-e-g) triads. This all happens when you keep stacking up alternating (maj/min) thirds (except for the F# dim) on top of each other, covering the entire fretboard.
Later in the book he explains different approaches, like starting from a minor triad (blues sound) or a dom7 (more of a bebop sound).
If you're interested in exploring the harmonic content of this I'd recommend his other book "A Harmonic Approach" where he goes more into detail about the vertical aspect of chords and playing over them. You can work with both books simultaneously - what you may miss in one of them you may find in the other one.
I think that "Melodic Approach" is meant to get you started playing jazz guitar when you're just starting out without getting too complicated regarding theory, scales and such.
It's the book that got me started - the big gateway for me into jazz guitar. Someone on the forum here recommended it, posted Mr. Fewell's demo videos which convinced me of the practical aspects of his approach so I picked them up and never looked back.
I consider myself still a beginner but I have made progress since starting and I owe a lot to these books and the man himself: I got in touch with him several times via e-mail when I had some questions and he always generously and patiently answered them almost immediately.
It's a shame he had to go way to soon....Last edited by TOMMO; 12-03-2016 at 10:07 AM.
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Still, i don't really see what i'm supposed to deduct from the lessons so far to know which triads i can play in a given progession over a given chord (or set of chords?).
"Three Bee's" starts off:
Bb-7(9) | Eb7(9) | AbMaj7 | F-7
..now what?
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Over Bb-7 and Eb9 you can play all the triads that are derived from the Bb min triad, over AbMaj7 you can play all the triads derived from F min. Just play and experience for yourself which ones sound best to you. Originally Posted by Shirt Cooper
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Yeah . It strikes me as more of an immersive approach , as opposed to being highly Cerebral and technical. Originally Posted by TOMMO
He doesn't necessarily explain it , but kind of demonstrates it in the previous exercises. All four of the above chords are in the key of a-flat major. Therefore, all of the triads in a-flat major can be utilized to improvise over those chords. Originally Posted by Shirt Cooper
Notice in the examples, he isn't simply using one triad per chord . He's using multiple triads stacked over each one. Just as all of the triads which work on the I chord work on the vi, all of those same triads work on the ii as well, and the V etc...
I need to actually dig into this stuff myself.Last edited by matt.guitarteacher; 12-03-2016 at 03:23 PM.
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Thanks a lot for your answers!
Still seems to me that one will have a good understanding (or ear ...) of what is going on harmonically. In jazz (as you all know) keys often change back and forth mid song and you'll have to adjust your choice of triads accordingly, right?
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Not always keys but key centers but you're right! Originally Posted by Shirt Cooper
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Heard so much talk about this book. Got it a few months ago, and gave it some cursory viewing, and just felt like it was missing something.
Looking at it today, I realized it is literally is missing something. Like almost 20 pages. I suppose Amazon would probably swap this, even though it's been forever. I mean, this isn't exactly a wear and tear issue. Bizarre. Looks like it's missing pp 7-22. Are those pages important? :-)
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Yes, quite! Pretty well the foundation of his system.
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What are the differences between his Harmonic Method and his Melodic Method?
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I would say that "Melodic Approach" is about getting you started on how to create melodic lines over changes in jazz standards by extending triads (plus, of course, some articulation exercises and such), whereas "Harmonic Approach" digs much deeper into vertical harmony and extracting the notes you can play from the chords (and especially their extensions) you play over. Originally Posted by bingefeller
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